Karel Moor Vídeos
compositor, director de orquesta, director de coro
Conmemoraciones 2025 (Muerte: Karel Moor)
- música clásica, ópera, opereta
- Checoslovaquia, Imperio austrohúngaro
Última actualización
2024-05-10
Actualizar
José Cura Shakespeare Dorothea Röschmann Alvarez Benjamin Bernheim Christa Mayer Mayer Georg Zeppenfeld Bror Magnus Tødenes Csaba Szegedi Gordon Bintner Christian Thielemann Lacroix Lemaire Moor Salzburg Easter Festival Sächsische Staatskapelle Dresden 2016
JOSÉ CURA, "OTELLO" / Atto 2 (Scena 3 ~ 5), from "Ciò m'accora.(Jago)" to "Sì, pel ciel marmoreo giuro!". in Salzburg Easter Festival in 2016 For the 400th anniversary year of Shakespeare's death. / JOSÉ CURA, "OTELLO" / 2016 Salzburg Easter Festival / March 19 and 27 at Grosses Festspielhaus in Salzburg JOSÉ CURA SHONE IN THE TITLE ROLE Here the Otello is tenor José Cura. He looks magnificent, this victorious Venetian general, his costumed appearance inspired by the splendor of the Serenissima. And he splendidly blares “Esultate"! / NZZ Otello: JOSÉ CURA Desdemona: Dorothea Röschmann Iago: Carlos Alvarez Cassio: Benjamin Bernheim Emilia: Christa Mayer Lodovico: Georg Zeppenfeld Rodrigo: Bror Magnus Tødenes Montano: Csaba Szegedi Araldo: Gordon Bintner Conductor: Christian Thielemann Director: Vincent Boussard Costumes designer: Christian Lacroix Stage designer: Vincent Lemaire Choir: Sächsischer Staatsopernchor, Dresden und Salzburger, Orchestra: Sächsische Staatskapelle, Dresden JOSÉ CURA AS OTELLO LEFT LITTLE TO BE WISHED FOR. / DNN, March 2016 Argentinian JOSÉ CURA is a reputable tenor and Otello has been one of his major roles throughout his career. His experience, together with a well elaborated technique and strong stage presence, help him to present a homogenous and convincing interpretation. The Salzburg Easter festival convinces again with its high quality. / Opera Online JOSÉ CURA—as a singer, conductor and director who is intimately familiar with Otello— stepped into the title role and presented his short-tempered commander with solid vocal line. Applause at the end of the evening. / Salzburg24 JOSÉ CURA is still a singer who goes to the limit, he has an Italian flair in his voice, and he sings some beautiful melodic lines. As a performer, he is intense; his Otello is a brooder, an intellectual, almost a sage. One is happy watching him—but any opera with Cura would be just as good. / Kurier A superb new Otello from the Salzburg Easter Festival: Cura is a commanding Otello with his richly coloured tenor and both fragile delicacy and fiery ardour. / Südwestpresse JOSÉ CURA sings as an aging Otello, broken from the start, the radiant, heroic youthfulness far in the past; he is withdrawn from the beginning. JOSÉ CURA's tenor still has plenty of brilliance… / Wiener Zeitun JOSÉ CURA convinces as Otello with his colorful tenor, fragile delicacy and fiery glow. At the end much applause, not necessarily fiery but persistent. / SWP The Festival called on JOSÉ CURA for their Otello. His is a strong voice, used with a certain intelligence and defends himself and the role well: JOSÉ CURA saved the performance. There is shrewd understanding in his singing; there is emotion; he is truly formidable. In the end, Cura did well despite the problems with the production and an orchestra that was not always helpful. / The Wanderer What I really liked about the singing and acting of the Otello of JOSÉ CURA was the range, subtlety and depth. Cura presented a fully human, attractive but deeply flawed Moor. He was endlessly fascinating. An earlier Salzburg recording was the BBC’s top pick for an Otello video (before this one came out of course). I think this one beats it on every count. / OperaRamblings (DVD)
José Oxilia Cara Julián Gayarre Verdi Moor Gauthier Walter Kirchhoff Teatro Liceo Teatro San Carlo Fenice Scala Teatro Solís 1814 1861 1877 1879 1884 1887 1889 1892 1899 1901 1902 1908 1916 1918 1919
José Oxilia +••.••(...)) was a Uruguayan tenor who enjoyed his heyday at the end of the 19th century. Born in Montevideo to Italian parents, Oxilia originally planned to become a doctor, per his father’s wishes. Upon his graduation from high school in 1877, the boy’s parents sent him to medical school in Milan. The sixteen-year-old was homesick but eventually discovered Milan’s artistic community. Oxilia began spending his monthly allowance on opera performances and was soon cutting class and spending his tuition money on voice lessons. When Oxilia’s father learned of his son’s deceit, he cut off his allowance. The young man was almost reduced to begging when he caught the attention of artist Cesare Tallone, who noticed his Bohemian appearance. Tallone began using Oxilia as a paid model and also suggested him to none other than Henri Matisse, who also paid the teen to pose for him. These modeling jobs allowed Oxilia to survive, although just barely, without his family’s financial assistance. Following his father’s death in 1879, Oxilia returned briefly to Montevideo to run the family business. He also continued his vocal studies but returned to Milan about a year later to work with tenor Felice Pozzo +••.••(...)). Oxilia made his stage debut on November 21, 1884 in the secondary role of Laerzio in Thomas’ Amleto at Barcelona’s Teatro Liceo. During that season, the young tenor sang other comprimario roles including Arturo in Lucia di Lammermoor, Rambaldo in Roberto il Diavolo and Tebaldo in I Capuleti ed i Montecchi. A highlight of the season was Oxilia’s assumption of his first leading role, subbing for an ailing Julián Gayarre as Fernando in La Favorita. Important debuts at other European companies, including Madrid’s Teatro Reale, Bologna’s Teatro Comunale, the Teatro San Carlo in Naples and Venice’s La Fenice followed. Oxilia’s repertoire grew rapidly and the roles grew heavier, with leads in such operas as La Gioconda, Aïda, Luisa Miller, Mefistofele, Carmen, L’Africana and Lohengrin. In August of 1887, the tenor, now calling himself Giuseppe Oxilia, essayed the title role in Verdi’s Otello at Brescia’s Teatro Grande, a part that he would perform in Parma, Venice and Bologna the following year. He also sang the Moor at La Scala in February of 1889, a production that proved disastrous for the tenor. During the first performance, Oxilia began to lose his voice and barely made it to the end of the opera. Another tenor filled in for the rest of the performances. For a fledgling tenor barely out of his mid-twenties, it may have been a case of too much, too soon. The following year, Oxilia returned to South America for the first time in a decade for a series of appearances at major theaters, including Montevideo’s Teatro Solís. The tenor’s countrymen welcomed him with open arms and his performances were much heralded events. However, he left Montevideo in 1892, never to perform there again. Back in Italy, Oxilia found himself relegated to mainly provincial theaters. By the early 1900s, Oxilia no longer possessed the vocal stamina to last through an entire opera and at the age of 43, he retired from the stage. After his retirement, Oxilia supported himself as a teacher and counted soprano Eva Gauthier and tenor Walter Kirchhoff among his pupils. Argentinian journalist José de Soiza Reilly interviewed Oxilia at his home in 1908 and found him living in poverty. Oxilia’s health began to fail due to diabetes and an infection caused the amputation of his left arm in 1916. He sold off the mementoes of his career and sailed with his family back to Montevideo in 1918. Once in his homeland, things rapidly deteriorated for the former opera star. In a fit of depression, Oxilia attempted suicide, flinging himself to an old well. Nearly blind, he could not see that the well was being used as a dumping ground and fell several feet into a heap of refuse. Oxilia fractured his right leg, necessitating the amputation of the limb. Unbeknownst to the tenor, the city of Montevideo had just voted to provide him with a pension. Sadly, it was too late. On May 18, 1919, just a few weeks shy of his 58th birthday, José Oxilia died, broken, destitute and forgotten. José Oxilia is a tragic example of misguided talent. His repertoire of over 30 roles contained many dramatic parts which were taken on before the voice had fully developed. Oxilia’s recordings, made for Edison, G&T and Fonotipia in 1901 and 1902, reveal that, even though he was only in his early 40s, his voice was simply worn out. Although the tenor’s health issues may have led to this sad decline, taking on such a punishing repertoire at too early an age certainly contributed. Despite his vocal shortcomings, Oxilia’s eloquent phasing remains intact, making for some fascinating listening. Here, Oxilia sings "Parigi o cara" (as a solo) from Verdi's La Traviata. This recording was made for G&T in Milan in April of 1902.
José Oxilia Julián Gayarre Verdi Moor Gauthier Walter Kirchhoff Boito Teatro Liceo Teatro San Carlo Fenice Scala Teatro Solís 1814 1861 1877 1879 1884 1887 1889 1892 1899 1901 1902 1908 1916 1918 1919
José Oxilia +••.••(...)) was a Uruguayan tenor who enjoyed his heyday at the end of the 19th century. Born in Montevideo to Italian parents, Oxilia originally planned to become a doctor, per his father’s wishes. Upon his graduation from high school in 1877, the boy’s parents sent him to medical school in Milan. The sixteen-year-old was homesick but eventually discovered Milan’s artistic community. Oxilia began spending his monthly allowance on opera performances and was soon cutting class and spending his tuition money on voice lessons. When Oxilia’s father learned of his son’s deceit, he cut off his allowance. The young man was almost reduced to begging when he caught the attention of artist Cesare Tallone, who noticed the his Bohemian appearance. Tallone began using Oxilia as a paid model and also suggested him to none other than Henri Matisse, who also paid the teen to pose for him. These modeling jobs allowed Oxilia to survive, although just barely, without his family’s financial assistance. Following his father’s death in 1879, Oxilia returned briefly to Montevideo to run the family business. He also continued his vocal studies but returned to Milan about a year later to work with tenor Felice Pozzo +••.••(...)). Oxilia made his stage debut on November 21, 1884 in the secondary role of Laerzio in Thomas’ Amleto at Barcelona’s Teatro Liceo. During that season, the young tenor sang other comprimario roles including Arturo in Lucia di Lammermoor, Rambaldo in Roberto il Diavolo and Tebaldo in I Capuleti ed i Montecchi. A highlight of the season was Oxilia’s assumption of his first leading role, subbing for an ailing Julián Gayarre as Fernando in La Favorita. Important debuts at other European companies, including Madrid’s Teatro Reale, Bologna’s Teatro Comunale, the Teatro San Carlo in Naples and Venice’s La Fenice followed. Oxilia’s repertoire grew rapidly and the roles grew heavier, with leads in such operas as La Gioconda, Aïda, Luisa Miller, Mefistofele, Carmen, L’Africana and Lohengrin. In August of 1887, the tenor, now calling himself Giuseppe Oxilia, essayed the title role in Verdi’s Otello at Brescia’s Teatro Grande, a part that he would perform in Parma, Venice and Bologna the following year. He also sang the Moor at La Scala in February of 1889, a production that proved disastrous for the tenor. During the first performance, Oxilia began to lose his voice and barely made it to the end of the opera. Another tenor filled in for the rest of the performances. For a fledgling tenor barely out of his mid-twenties, it may have been a case of too much, too soon. The following year, Oxilia returned to South America for the first time in a decade for a series of appearances at major theaters, including Montevideo’s Teatro Solís. The tenor’s countrymen welcomed him with open arms and his performances were much heralded events. However, he left Montevideo in 1892, never to perform there again. Back in Italy, Oxilia found himself relegated to mainly provincial theaters. By the early 1900s, Oxilia no longer possessed the vocal stamina to last through an entire opera and at the age of 43, he retired from the stage. After his retirement, Oxilia supported himself as a teacher and counted soprano Eva Gauthier and tenor Walter Kirchhoff among his pupils. Argentinian journalist José de Soiza Reilly interviewed Oxilia at his home in 1908 and found him living in poverty. Oxilia’s health began to fail due to diabetes and an infection caused the amputation of his left arm in 1916. Oxilia sold off the mementoes of his career and sailed with his family back to Montevideo in 1918. Once in his homeland, things rapidly deteriorated for the former opera star. In a fit of depression, Oxilia attempted suicide, flinging himself to an old well. Nearly blind, he could not see that the well was being used as a dumping ground and fell several feet into a heap of refuse. Oxilia fractured his right leg, necessitating the amputation of the limb. Unbeknownst to the tenor, the city of Montevideo had just voted to provide him with a pension. Sadly, it was too late. On May 18, 1919, just a few weeks shy of his 58th birthday, José Oxilia died, broken, destitute and forgotten. José Oxilia is a tragic example of misguided talent. His repertoire of over 30 roles contained many dramatic parts which were taken on before the voice had fully developed. Oxilia’s recordings, made for Edison, G&T and Fonotipia in 1901 and 1902, reveal that, even though he was only in his early 40s, his voice was simply worn out. Although the tenor’s health issues may have led to this sad decline, taking on such a punishing repertoire at too early an age certainly contributed. Despite his vocal shortcomings, Oxilia’s eloquent phasing remains intact, making for some fascinating listening. In this recording, Oxilia sings "Giunto sul passo estremo" from Boito's Mefistofele. This was recorded for G&T in Milan in 1902.
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- cronología: Compositores (Europa). Directores de orquesta (Europa).
- Índices (por orden alfabético): M...